lunes, 27 de junio de 2016


viernes, 24 de junio de 2016

lunes, 20 de junio de 2016

viernes, 20 de mayo de 2016

Federico Cantú





Dedicaría mas de tres décadas de producción monumental para el IMSS



A lo largo y lo ancho de nuestra nación podemos admirar un sinnúmero de obras monumentales que surgen en torno a la Madona IMSS
En estos anteproyectos podemos reconocer el oficio de artista consagrado
En donde explora las diferentes versiones y posiciones que dará a la obra
Para dotarla de carácter meramente nacionalista

Federico es hoy por hoy uno de los grandes del arte monumental dentro del Universo artístico del pasado Siglo XX


Textos Adolfo Cantú
Colección Cantú Y de Teresa
Copyright © 1989-2016
FCG Copyright ©

BoArt©

martes, 10 de mayo de 2016

Cantú, Mural, 1960, Los Angeles County Museum of Art, the Bernard and Edith Lewin Collection of Mexican Art, © Estate of Federico Cantú
A Mexican Mural Study by Federico Cantú



Rachel Kaplan, Wallis Annenberg Curatorial Fellow
Latin American art

In 1928, the Mexican artist Federico Cantú (1907–1989) arrived in Los Angeles. Cantú had previously attended the Open Air School of Painting in Coyoacán, Mexico City, directed by Alfredo Ramos Martínez (1871–1946) (who also spent time in Los Angeles), assisted Diego Rivera (1886–1957) on his murals at the Ministry of Public Education in Mexico City, and studied sculpture in Paris with the Spanish artist José de Creeft (1884–1982). In February 1930, James Tarbotton Armstrong, curator of the University of Southern California Museum, arranged Cantú’s first exhibition of drawings and paintings at the Los Angeles Museum of History, Science and Art in Exposition Park—LACMA’s parent institution. Though Cantú soon left for New York and Paris, and finally a return to Mexico, over the years he continued to visit Los Angeles, exhibiting his work at the Stendahl Galleries (late 1930s and early 1940s) and Lorser Feitelson’s Gallery of Mid-20th-Century Art (1948). 
When Cantú returned to Mexico, he primarily devoted himself to painting neoclassical and religious scenes. In the 1950s, he began painting murals in private homes in Mexico City, which soon led to a number of public commissions. In several of these murals, Cantú explored pre-Columbian themes, absent from his earlier work, a good example of which is Enseñanzas de Quetzalcóatl (Quetzalcóatl’s Teachings), painted for the home of Benito Coquet (1913–1993). 


Federico Cantú, Enseñanzas de Quetzalcóatl, mural installed in the home of Benito Coquet, photo courtesy of Adolfo Cantú colección CYDT

jueves, 5 de mayo de 2016


lunes, 2 de mayo de 2016